Mathew Slade: Who Killed My Penpal? (EP4648)

Summary

Summary of "Mathew Slade: Who Killed My Penpal?" (EP4648)

Podcast Title: The Great Detectives of Old Time Radio
Host: Adam Graham
Episode Title: Mathew Slade: Who Killed My Penpal?
Release Date: March 11, 2025

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Introduction

In this gripping episode of The Great Detectives of Old Time Radio, host Adam Graham delves into the final installment of the "Matthew Slade Private Investigator" series titled "Who Killed My Penpal?" This episode masterfully intertwines classic detective storytelling with rich character development, delivering a compelling narrative that keeps listeners on the edge of their seats.

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Plot Summary

Setting the Scene

The story begins with Matthew Slade, a seasoned private investigator based in Hollywood, grappling with the abrupt request from Paulette Van Brette—a pseudonym for the enigmatic Polly Smith—to solve the mysterious disappearance of her penpal, Jason Castor ([03:17]). Slade, portrayed with a blend of skepticism and determination, navigates the treacherous waters of Hollywood's underbelly to uncover the truth behind Jason's vanishing act.

The Investigation Unfolds

Slade's journey takes him to Los Angeles, where he encounters various characters, including Maggie Moore of Pen Pals Incorporated and the elusive Sid Donelli ([07:59]). The interplay between Slade and Polly Smith adds layers of complexity, as Polly's whimsical demeanor conceals deeper motives. Slade's investigation leads him to the Square Place—a hotspot for jazz enthusiasts and Jason's last known location ([16:40]).

A pivotal moment occurs when Slade, amidst a tense confrontation, realizes that Jason's disappearance is intricately linked to Polly's hidden agenda. The narrative crescendos with a dramatic encounter at an abandoned house, culminating in a life-threatening standoff between Slade and Jason ([21:04]-[22:30]). Slade's resourcefulness and Polly's unexpected bravery are put to the ultimate test as they confront the darker aspects of their intertwined lives.

Climax and Resolution

The climax sees a high-stakes confrontation where Slade narrowly escapes death, thanks to the timely intervention of Sid Donelli. The resolution ties up the immediate conflict but leaves lingering questions about Polly's true intentions and the future of her penpals network. Slade's injuries and the aftermath of the chaos emphasize the personal costs of his professional endeavors ([22:30]).

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Character Analysis

Matthew Slade

Matthew Slade is portrayed as a dedicated and resourceful private investigator, constantly balancing professional duty with personal vulnerabilities. His interactions with Polly Smith reveal a man driven by a sense of justice but often finds himself entangled in situations beyond his control.

Polly Smith (Paulette Van Brette)

Polly Smith emerges as a multifaceted character—eccentric millionaire, passionate writer, and enigmatic client. Her relationship with Slade is complex, marked by both professional reliance and personal tension. Polly's insistence on involving Slade in Jason's case hints at deeper, possibly ulterior motives.

Jason Castor

Though Jason's presence is largely felt through his disappearance, his characterization as a talented young poet widens the narrative scope. His mysterious demise serves as the catalyst for the unfolding drama, highlighting themes of ambition, secrecy, and the dark side of human connections.

Sid Donelli

Sid serves as both comic relief and a link to traditional detective archetypes. His involvement adds a layer of camaraderie and showcases the collaborative nature of investigative work, though his bumbling demeanor often lands him in precarious situations.

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Key Themes and Insights

The Duality of Appearances

The episode explores the theme of hidden identities and the masks people wear. Polly Smith's dual persona as Paulette Van Brette reflects the broader narrative of concealed truths and the lengths individuals go to protect or reveal their true selves.

The Cost of Investigation

Slade's physical injuries and emotional toll underscore the personal sacrifices inherent in the detective profession. The episode poignantly highlights the fine line between professional duty and personal safety.

The Intersection of Art and Crime

Jason Castor's role as a poet introduces the motif of art intersecting with criminality. His poetic expressions serve as cryptic clues, blending the aesthetic with the analytical aspects of detective work.

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Host Commentary and Listener Feedback

Adam Graham's Analysis

Adam Graham provides insightful commentary on the episode, drawing parallels between "Matthew Slade" and other classic detective figures like Johnny Dollar. He praises Polly Smith as a compelling foil to Slade, enhancing the narrative's depth ([25:07]).

Criticisms and Observations

Graham critiques the episode's condensed storytelling, noting the excessive exposition necessary within the limited timeframe. He points out the unrealistic speed at which the plot unfolds and the oversimplified portrayal of legal proceedings ([25:25]). Additionally, he addresses the production's sound quality issues, which, according to listener WattsD12, detract from the overall experience by making voices sound emotionless and rushed.

Listener Engagement

Listeners, such as Mechanic8682, appreciate the story's framework but desire more nuanced courtroom scenes, drawing comparisons to the Perry Mason novels. Graham acknowledges these critiques, elaborating on the challenges of balancing authentic storytelling with the constraints of old-time radio formats ([25:25]).

Future Directions

Graham hints at the possibility of revisiting the "Day of the Phoenix" story if the final episode becomes available, expressing hope for continued exploration of the Matthew Slade series despite moving on from it ([34:37]).

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Notable Quotes with Timestamps

• Matthew Slade ([06:35]): "Someone didn't like him."

  Context: Slade's initial assessment of Jason's disappearance, showcasing his methodical yet somewhat detached approach.

• Polly Smith ([07:27]): "It's all settled. My lawyer, Nathan Gainsborough, would send you a check."

  Context: Polly's abrupt handling of Slade's involvement, hinting at her controlling nature.

• Matthew Slade ([20:43]): "It was Polly. I looked but couldn't see her under the front step."

  Context: The moment of realization where Slade uncovers Polly's potential complicity in the unfolding events.

• Polly Smith ([18:37]): "Do you know Jason Castor?"

  Context: Polly's attempt to probe Slade's knowledge, revealing cracks in her initial facade.

• Matthew Slade ([22:30]): "The police and ambulance arrived. Jason and Sid were taken away as the caretaker stormed in with the demolition crew."

  Context: The aftermath of the climactic confrontation, tying up loose ends while leaving room for unresolved tensions.

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Conclusion

"Mathew Slade: Who Killed My Penpal?" stands as a testament to the enduring allure of old-time radio detective stories. Through its intricate plot, well-developed characters, and thematic depth, the episode captures the essence of classic mystery while addressing modern storytelling challenges. Despite its shortcomings in pacing and sound quality, as highlighted by host Adam Graham and listener feedback, the episode offers a rich, engaging experience for fans of the genre. As the series concludes, it leaves listeners yearning for more stories in the storied world of Matthew Slade.

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This summary aims to provide a comprehensive overview of the episode, capturing its key elements and critical reception. For those interested in classic detective tales infused with nostalgic charm, "Who Killed My Penpal?" is a recommended listen.

Transcript

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[Adam Graham]

Welcome to the Great Detectives of Old Time Radio from Boise, Idaho, this is your host, Adam Graham. In a moment, we're going to bring you the last episode of Matthew Slade Private Investigator. But before that, I do want to encourage you if you're enjoying the podcast to please follow us using your favorite podcast software. Our listener support and appreciation campaign continues. You can become one of our ongoing Patreon supporters for as little as $2 per month by going to patreon.greatdetectives.net now from November 22, 1964, here is who Killed My Pen Pal.

[Matthew Slade]

From Hollywood. Welcome to Starlight Mystery Theater and another episode in the series Matthew Slade Private Investigator. We invite you to take your seats as Matthew Slade unfolds who Killed My Pen Pal. In my job, the hours are odd, so are the circumstances and the people I meet. You could even Call some of them dangerous. My calling card reads, matthew Slade's private Investigator. I didn't know what time it was. I hoped that it was later than I thought. I was angry. Angry enough to kill? I glanced at my watch, cursed silently. 9am an hour to go. An hour before plane time. Then the deserving Sergeant Sid Donelli, little old me, flies off into the wild blue Hollywood Hawaii. Will you shut up? Buddy, pal, friend. You get me up at dawn, you drag me to the office so that I can toast your trip from my liquor cabinet. Oh, yeah. I should have got a later flight. Matt, it's too early to drink for two hours. You've talked about this great vacation you're going to take. Rubbing it in that I have to stay here and work. Work? Now, bon voyage. I think I have an appointment. Oh, Jonesy, do I have an appointment?

[Polly Smith]

No, but, Max, there is someone here to see.

[Matthew Slade]

Old is Paulette Van Brette. Van Bre. Beautiful Sl.

[Polly Smith]

Not exactly.

[Matthew Slade]

Now, never mind. Send her in. Hold it, Lancelot. I'll leave by the back entrance. I don't want to be dragged into one of your cases. Now, aloha and hooray for Hollywood. Well, don't let a talent scout see you. The movie industry is in enough Trouble. Come in, Ms. Van Brett. I wish that I had met her 50 years ago. She must have been beautiful. Now she was an aging, ageless Catania. A silvering sprite wrapped in bright green mace. She perched on the edge of a chair, bobbed her head at me like a parakeet about to give an esoteric performance. A tall, silent man in a chauffeur's uniform was with her. Well, Miss Van Brett.

[Polly Smith]

It's Smith. Paulette Van Brett is my pen name. My number two, as it were.

[Matthew Slade]

You're a writer?

[Polly Smith]

In a way, yes. Oh, this is Francis, my chauffeur. He follows me everywhere I go. I don't think he trusts me. I'm always flying off on little Esther Page and he's. Oh, where was I? Oh, yes. I'm a writer. That is, I write letters to £10 pen pal all over the world. Darlings, all of them. That's why I'm here.

[Matthew Slade]

One of them didn't answer a letter.

[Polly Smith]

Exactly. You're very intelligent, Matthew. I may use your first name, of course. Now, what do you think of that?

[Matthew Slade]

What do I think? Well, I think that Jason is from Teals.

[Polly Smith]

Naturally. Oh, I knew this was the right detective, Francis. Now, why do you think Jason was murdered, Matthew?

[Matthew Slade]

Someone didn't like him.

[Polly Smith]

Amazing, isn't he amazing Santos who did it.

[Matthew Slade]

Now, I hate to admit this, Polly, but I haven't the slightest idea who is Jason?

[Polly Smith]

You're not as bright as I thought you were.

[Matthew Slade]

Sorry.

[Polly Smith]

Jason. Jason's pastor. He's a talented young genius. A kindred soul. A poet. Here. His last letter to me speaks for himself.

[Matthew Slade]

She handed me a letter. The return address was Los Angeles. In 16 pages, the kindred soul repeated in the Arabic rhythm and using poetic license that the thing he had feared had happened. What did he mean by that? The thing?

[Polly Smith]

That he feared someone was going to kill him. That is, they hadn't yet. But he didn't say that. But that's what he meant. If you understand poetry at all, Matthew.

[Matthew Slade]

Jason isn't exactly Stephen Vincent Bernay.

[Polly Smith]

Oh, but he. His clothes. I've written six letters since I received that one. He didn't answer any of them. Oh, I just know that something horrible has happened. Now, I want you to go to Los Angeles immediately, rescue your boy. I bring him back here.

[Matthew Slade]

Oh, no. Now, wait a minute. I.

[Polly Smith]

It's all settled. My lawyer, Nathan Gainsborough, would send you a check. I told him I was hiring you. Come practice. Goodbye, Matthew. You're.

[Matthew Slade]

She pattered out with Frances while the charming boy detective wiped the egg off his face. Jonesy, get me Nathan Gainsborough on the phone.

[Polly Smith]

All righty.

[Matthew Slade]

You know what happens to secretaries who listen to keyholes?

[Polly Smith]

They write stories for confession magazines. And Nathan Gainsborough was already on the phone. He called you? Line one.

[Matthew Slade]

Thanks. Hello, Mr. Gainsborough? Slade, I presume. Our man, I think. I've agreed to handle a case which I know nothing about. But I'm not sure. Welcome to the club. I'm not sure that I want to join.

[Polly Smith]

Of course you do.

[Matthew Slade]

It's profitable. Polly has $20 million, which I try.

[Polly Smith]

To keep track of.

[Matthew Slade]

It isn't easy, but she likes to spread sunshine. Now, this pen pal business is an example. Many of them knew that she's Polly Smith, eccentric millionaires and not Paulette Van Brick. We'd be up to our dividends and marriage proposals and sad stories. She has a big heart, huh? But not a weak mind. She ought to fast be most of the time. The Francis informed me of this, Jason. All of the pen pals go through my office. But somehow she managed to keep him a secret. You don't know anything about him? No, Nothing. Now, when you get to Los Angeles, check with Maggie Moore. She runs Pen Pals Incorporated. Polly gets all of them through. Maggie, is $1,000 all right for a retainer? Fine. But I. I've sent it by messenger. How soon can you leave? Oh, right away. But I. The receiver clicked in my ear. I had a definite feeling I was being pressured. I muttered to myself on the drive to Los Angeles, swearing to bring Jonesy into line and to not get roped in by anyone as far out as Polly again. It was almost 5 o'clock when I reached Los Angeles. I checked Jason Castor's address on the letter. It was in the Valley. I turned onto the Hollywood Freeway leading to the Valley, planning to check out his address before dinner. Thousands of cars were headed toward the same destination, jammed together like sardines. The sardines all belonging to the same school of thought. Move and stop. Move and stop.

[Polly Smith]

Good. In heaven's name, Matthew, I'm getting car sick. Where are we?

[Matthew Slade]

It was Polly. She popped her head over the back of my seat. I hit the bumper of the car in front of me and set off a chain reaction of cars bumping, jolting and drivers waking up.

[Polly Smith]

You are the worst driver I've ever seen, Matthew. Look what you saw.

[Matthew Slade]

How did. What.

[Polly Smith]

Where did you. Don't bother, Matthew. Drive. I decided to come along and help.

[Matthew Slade]

You've been in the back seat all this time, Matthew.

[Polly Smith]

I didn't get $20 million by trusting people or fate.

[Matthew Slade]

She told me how she got her 20 million and how I could make the same amount if I stopped talking to myself and sharpened up during the hour and a half it took to go two miles on the freeway. Polly was a compulsive talker. My ears were ringing when we pulled up in front of a three story monstrosity which Jason fondly, I suppose, called home. It appeared to be deserted.

[Polly Smith]

Oh, charming isolation, Matthew.

[Matthew Slade]

It looks just like Jason Lincolnson.

[Polly Smith]

You're too sarcastic to be so young, Matthew. It's the inner world which is important.

[Matthew Slade]

I can't say much for Jason's outer world. Now you stay here. Really, Matthew, or I'll quit. I walked through waist high grass expecting Livingston to show up any minute. The house towered above me. Its paint paper. The broken panes in the windows made it appear drunk. I wouldn't have been surprised had it given a giant hiccup and tumbled into oblivion. I stumbled on a broken step, then knocked rather inanely on the front door and the door fell in. So I went inside. The house was dark, dusty, empty. If I'd had the sense, Polly said, I should have, I would have been cautious. I wasn't. Someone hit me from behind and I joined the door on a red Velvet carpet. I was stunned, but not out. I heard someone run past me and up a staircase to the second floor. I got to my feet and ran after him. I knew that whoever it was had heard me, but they were acquainted with the house and I wasn't. I stopped on the open balcony, then heard a sound. Came from behind a closed door. I went toward it, jerked the door open and.

[Polly Smith]

Matthew, are you trying to frighten me to death? Don't open the door like that.

[Matthew Slade]

Polly. What are you doing in a closet?

[Polly Smith]

Hiding. I came in the back ready, and I heard.

[Matthew Slade]

Did you hit me on the back of the head?

[Polly Smith]

I just asked.

[Matthew Slade]

I don't know. I just had to ask. Now, how did you get up here without my seeing you?

[Polly Smith]

It was a backstair.

[Matthew Slade]

That's how he got away. Okay, you, kid, get out of here. You're trespassing, Kids. Nothing else to do than drive me crazy, like them windows tearing up. Well, mister, aren't you a little old for this type of thing? You and your mother, get out of here.

[Polly Smith]

I am not his mother.

[Matthew Slade]

Sorry. We were looking for someone. In the closet.

[Polly Smith]

I was hiding in the car.

[Matthew Slade]

Okay, I'll. Now, just a minute. Who owns this property? The city. And they're gonna tear it down. When? Any minute. Thank you. Sorry we bothered you. I thanked him and propelled the protesting Polly down the stairs and into the car. I would have to go back after dark, but after I got Polly out of my hair.

[Polly Smith]

Where are we going?

[Matthew Slade]

Matthew? You are going to San Francisco. I am going to stay here. She exploded and kept it up all the way to International Airport. Between explosions and persuasions, I managed to find out that she didn't have a picture of Jason, but that he was about 25, tall, blonde, and that Maggie Moore of Pen Pals Incorporated had recommended him. I saw Polly safely aboard a plane for San Francisco. And then in the terminal, spotted that happy tourist, Sid Donelli. Well, hello, Sid. Welcome to paradise. Oh, no. What are you doing here on the case? Aren't you a little late arriving? What'd you do, walk? I hate comics. I miss my plane. Matt and I got air sick. And the stewardess didn't like you. You want to ride into town? You're working on a case. No, just go away. All right. Take the bus. Matt, wait a minute. You know how I feel about the bus. I drove Sid into town and dropped him at the Grayson Hotel. Promised to meet him later for a drink at the Chaise on the Strip. Then I looked up the address of Pen Pals Incorporated. It was about a 10 minute drive.

[Polly Smith]

Mr. Slade, please come in. I've been expecting you.

[Matthew Slade]

She may have been expecting me, but I wasn't expecting her. I had visualized her as the horn rim, hair in a bun type. She wasn't. Gainsborough called you about Jason Caster? Yes.

[Polly Smith]

I have no record of him at all. I checked the files. Nothing. I don't know how I got Polly's name.

[Matthew Slade]

Then you know that Paulette Van Breck is Polly Smith? Of course.

[Polly Smith]

But none of the pen pals do.

[Matthew Slade]

Polly said that you recommended Jason. You didn't?

[Polly Smith]

No.

[Matthew Slade]

Does anyone have access to your file?

[Polly Smith]

No, but there is no information about Polly Smith in them. He's listed as Paulette Van Bre. Occupation? Writer. Interested in reading, cooking, horseback riding. Collects modern poetry.

[Matthew Slade]

Well rounded. Pen pal with no money.

[Polly Smith]

Exactly. Where do we go from here?

[Matthew Slade]

We go to meet a friend. Sid Vanell. The Shay was crowded, but not so crowded that I couldn't spot Sid. He was leaning over the bar, murmuring to the bartender. Maggie and I went toward him. Hello, Sid. Matt. You know, I may get thrown off a force, but I'm going to kill you. Oh, I'm sorry. I really am a gentleman. Miss. Miss Moore. Maggie Moore. Delighted. Maggie, I may be the most interesting man you've ever met. A bartender. Champagne for this lady. And what are you buying for yourself, Matt? Hemlock on the rocks. What have I done now? Over there in the corner booth, does that belong to you? It was Polly. She waved a Mai Tai at me. I groaned. Hey, Maggie, there's a secluded booth. Oh, no, you don't sit. Come on, Maggie. Well, Polly, we didn't stay on the plane to San Francisco, did we?

[Polly Smith]

No, Matthew, we didn't have a nice honor.

[Matthew Slade]

No, thanks. Are you in the back of the car again?

[Polly Smith]

Oh, I never repeat myself, Matthew. I followed you in the taxi, paid the doorman to find out where you were going to meet kid. And here I am.

[Matthew Slade]

Since you are, this is Maggie Moore. She's never heard of Jason Castor. Now, where did you get his name?

[Polly Smith]

Really, Maggie, how strange. Don't you think that's stranger?

[Matthew Slade]

Oh, I never heard of him either. Oh, you have now. Oh, no. When did Jason start writing to you, Polly? How did he get.

[Polly Smith]

One question at a time, Matthew. About a year ago, I think. Oh, he's such a poor lost soul. No family and no one to holly. Well, Maggie recommended him.

[Matthew Slade]

You're lying.

[Polly Smith]

Yes.

[Matthew Slade]

Now, so what with the truth, I.

[Polly Smith]

Met him at the racetrack. No, that was Alan Dulles. Oh, in an art gallery. An Exhibit by an extremely talented artist. Thelma something, I forget.

[Adam Graham]

Last name.

[Polly Smith]

Jason was alone in San Francisco. He was coming back to Los Angeles the next day. I told him to write to me.

[Matthew Slade]

Did you give him your real name?

[Polly Smith]

Didn't he.

[Matthew Slade]

Not your home address?

[Polly Smith]

No. I used a box number, and I didn't send him any money.

[Matthew Slade]

You didn't? All right. How'd he make a living?

[Polly Smith]

He's poetry.

[Matthew Slade]

Poets don't make money. They either marry it or teach English. Now, what was he doing in the art gallery?

[Polly Smith]

He was just there. But I'm a copy potter. Sports, dancing, music. Well, music. Jazz music. He liked jazz. But he couldn't afford to buy records.

[Matthew Slade]

You afford to listen. Did he hang out in any of those record stores?

[Polly Smith]

Well, yes, he mentioned one in one of his. Cohen. Now, what was the name? The Square Place.

[Matthew Slade]

The Square Place?

[Polly Smith]

Well, that's in Hollywood, Matt. And it is the place for jazzbo.

[Matthew Slade]

Well, let's go. Wait. Not you, Sid. You take. Take care of Polly. Maggie and I will be right back. Don't do this mad, Matt. I had a hunch that Jason did know who Polly was and that the character he had built in his letters was a. Come on. Maggie and I arrived at the Square Place. The place was filled with kids and sounds. Someone pointed out the manager. I'd like to talk to you. You're the manager, right? The owner, man. The owner. Oh, listen to that horn, man. Oh, sweetie. Yeah. Okay, man, speak. I'm looking for Jason Caster. Never heard of him. He's a fuzz. No, no, no, no. He's. He's tall, blonde, about 25. 25? You got the wrong place, pops. Nobody over 18 in here. Kids. Just kids. Oh, wait a minute. You know, he's fading in. Yeah, we called him Jason the Argonut. Where can I find him? Who knows? In the Dead Sea, maybe. I chased him out of here a couple of weeks ago. Oh, listen. Fan club. That one's, like, eerie. I mean, I turned him out. Like he was never part of the scene. Well, he's part of the scene now. What do you remember about him? Oh, a poet, he said. But no gift, you know, no dum dee dum dum. You know, he's dangerous. Oh, yeah. You know, one of those who wait in the dark. One of those who wait in the dark. I did know. Clam didn't recall anything else about Jason except that he had, in Flam's words, latched onto the painter who had done the murals for the square plate. The painter was a woman. Her Name was Selma. Flam gave me her address and Maggie and I drove through the Hollywood Hills to what looked like an eagle's nest. The door was open, so we went in.

[Polly Smith]

Who are you?

[Matthew Slade]

I'm Matt Slade. This is Maggie Moore.

[Polly Smith]

You look well together. Would you like a drink?

[Matthew Slade]

Do you know Jason Caster?

[Polly Smith]

Oh, I just waited. Two ounces of good scotch.

[Matthew Slade]

You know, it's. And.

[Polly Smith]

And he's not like anyone I've ever met.

[Matthew Slade]

Are you kidding? Private investigator.

[Polly Smith]

Has he killed someone?

[Matthew Slade]

No. Why?

[Polly Smith]

If you listen, it might have been me.

[Matthew Slade]

It's a little pain.

[Polly Smith]

I didn't have enough money for Jason. Thank heaven.

[Matthew Slade]

You held an exhibit in San Francisco last year. Did you introduce Jason to anyone there?

[Polly Smith]

Yes. A charming but perfectly wild woman named Paulette Van Brett? No. Polly Smith. One night I came home with friends taking us here. He had painted his face with fluorescent paint. A death mask. A grotesque, bleeding death mask. When he saw it, he ran. That was a week ago. I haven't seen him since.

[Matthew Slade]

Thanks for your help. You lock the door after us?

[Polly Smith]

Double bolt lock, chain and chair.

[Matthew Slade]

Maggie, Polly is in this up to her beneficiary.

[Polly Smith]

You think that she puts her in her will?

[Matthew Slade]

She's made some provision for him. Or he thinks she has.

[Polly Smith]

He's going to kill Polly.

[Matthew Slade]

He's going to try. Slide in. I'll take you home. It is a good night for Girl Scouts to go home and catch up on their art and craft.

[Polly Smith]

You make a great den, mother.

[Matthew Slade]

We started down the hill. The street was steep, narrow, winding, filled with blind curves.

[Polly Smith]

If you hadn't passed your driver's test in San Francisco, I'd walk.

[Matthew Slade]

Not as bad as it sounds.

[Polly Smith]

That car behind us.

[Matthew Slade]

Yeah, I see it.

[Polly Smith]

He's too close. What is he trying to do?

[Matthew Slade]

He's trying to beat us down the hill.

[Polly Smith]

See that we don't get down.

[Matthew Slade]

Stop thinking and make sure your seatbelt is fastened.

[Polly Smith]

Max, he's trying to hit us. His face. It doesn't matter.

[Matthew Slade]

Yeah, I saw it. Get down. Here he comes again.

[Polly Smith]

Why did he pass up?

[Matthew Slade]

Either to wait for us or to get us to follow him. Maggie, he thinks that you're Polly and do exactly what I tell you. Maggie promised that she would. But women promise one thing and mean another. We drove up in front of the house. There was no sign of Jason. But I knew that he was watching us with some way in the dark.

[Polly Smith]

But Mr. Slade, I know that Jason wouldn't hurt anyone. He's a dear, dear boy.

[Matthew Slade]

I murmured, something covering in response as Maggie ducked down into the shadows, preparing to run back to the car. Then.

[Polly Smith]

Matthew. Matthew.

[Matthew Slade]

It was Polly. I looked but couldn't see her under the front step. I grabbed Maggie, pulled her off the porch. Polly. What in blazes are. Matthew.

[Polly Smith]

Don't blame Mr. Danelli for this.

[Matthew Slade]

Sid. Where is he?

[Polly Smith]

He's inside the house. He ran here a few minutes ago. There was a terrible noise, and then you came. I'm so afraid that he might hurt Katie.

[Matthew Slade]

That's not what I'm afraid of. All right, Maggie, stay with her. Now. Can you shoot a gun?

[Polly Smith]

I. I think so.

[Matthew Slade]

Take this. If he comes out, if you hear him shoot. I started up the steps, caught my heel in the broken one, cursed silently, and went inside. There was a sound. I turned quickly, say the uk Great. I got a broken leg, man. He got. He hit me with something that started up the stairs and I fell. Where's your gun? He got it. You don't have that? I gave it to Maggie. What is he. He's upstairs. I just. I just saw his face.

[Polly Smith]

That paint glows.

[Matthew Slade]

Hey, look, if I can close that front door and get out, I can get the gun from Maggie. Okay, but let me cover. Okay. Now sit. Go. Jason. He's up there. I can see him. You okay? I'm okay with you. Get out of. Bullets shot against the wall and into the floor around Sid. I started to move, but not quickly enough. A noose snaked down from the balcony and caught me about the throat. I managed to get a hold of the rope. I looked up and saw Jason. The rope was wrapped around the balcony railing, the other end tied to his waist. He jumped to the railing. I held on. He jerked at the rope, trying to break my hold. I clawed hand over hand, gained a few inches. He was ready to jump. I knew that when he did, Matt Slade would be dead. You on the balcony. I have a gun. Don't move. He jumped and Sid fired. I swung like a pendulum, still holding on. The rope snapped. His body hit the floor and I fell.

[Polly Smith]

Ma, are you all right?

[Matthew Slade]

Yeah, yeah. Get this noose off me. I didn't have too far to fall.

[Polly Smith]

What happened? Shocked. What happened?

[Matthew Slade]

Matthew got to my feet, Moved to Jason, bent over him.

[Polly Smith]

Oh, Matthew. You've killed my pig pal.

[Matthew Slade]

I hadn't killed Jason. I'd come as close to killing him as he had to killing me. The score was even. Maggie went to call the police and ambulance for Sid as Jason tried to convince Polly that he was just a little different from most pen pals. I agreed with that. I didn't agree that he wasn't trying to kill her. Polly was very sympathetic. She would still leave Jason her collection of modern poetry, which was what she had intended to will to him, not part of her fortune that he had thought Jason would have to learn to read between the lines of her letters for the real meaning. Jason was going to have enough trouble reading between the bars of itself. The police and ambulance arrived. Jason and Sid were taken away as the caretaker stormed in with the demolition crew. I tried to explain, was ordered out and fell down the front steps which were no longer there. The crew had removed them. The next few weeks I spent with Sid in the hospital in traction. I had gained not only a broken ankle but a pen pal. Polly wrote to me every day. This is the United States Armed Forces Radio and Television Service.

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[Adam Graham]

Welcome back. Poor Cinelli it's common for mystery to follow the private eye on vacation, but the police foil usually gets to take a break or stay at a safe distance. Only Cindanelli ends up not only dragged into the mystery, but seriously hurt trying to help. In many ways, this feels like it could have been a Johnny Dollar script from just a few years before. Polly Smith feels to me like a female Alvin Cartwright. She's a lot of fun in the story and a great foil to slay, though you would think if you hire a private detective, you'd let him work without looking over his shoulder over the time. You would think so. Anyway, my main criticism of the story and it happens with a lot of these shorter Myster think the same is true of a lot of Johnny Dollar episodes from later on. When there's too much exposited in the episode, a lot more things should be shown and we are only told about them, such as Matt's injury at the end. It's one of the problems when you have this short of a time frame to actually get your story in, where you get things so condensed and you have to just exposit a lot of things for there to be a full story. I hope you enjoyed Matthew Slate and I also hope that one day we get to listen to the complete Day of the Phoenix story so that we can bring that to you. Currently, two thirds of the story is in circulation and I know that some people do have the final episode, so when I find it when I get it. We'll revisit Matthew Slate, but we'll be moving on from this series. But we do have some listener comments and feedback from from YouTube in particular. And Mechanic8682 had a few comments regarding Pattern for a Frame. He writes, it is very convenient that in a bunch of old time radio the framed person or sometimes the guilty person just happened to have their mileage recorded. And overall the story said this was a decent one. I'd like to hear more courtroom action. The Perry Mason novel's audiobooks are far better than the radio or TV show. Mason didn't get a confession every trial. He also had a much more adversarial relationships with the prosecutors and cops as well as being far more sneaky. One thing Adam left out of his criticism of the courtroom accuracy is that there would have been first an arraignment, then motion hearings, and if Slade was lucky trial within a year, he would almost certainly not get bail for the murder of a congressman. Well, thanks so much for the comments. I think that the mileage logs are a perfectly valid piece of evidence and detective fiction. You just need to work them in in a way that's believable because most of us don't go around writing down our mileage and unless there's a way to make that plausible for someone's profession and in a way that's verifiable, then it feels contrived and convenient. I think in this case it worked because writing down mileage is a very standard thing that happens at Mechanics because, well, with your username I'm certain that you know a lot of mechanical warranties are based on a certain number of miles. And I also imagine that there have been cases where cars have been taken from a garage and used after hours for unauthorized purposes. This mileage in mileage out record provides assurances to the customers that their car, if it's being driven, is just for a purpose of testing out change or repair. Of course it wasn't convenient for Slate in this case since the prosecutor just summarily dismissed it on a supposition. And I think you're definitely right about the idea that there would have been a lot more process that would have taken a lot more time and Slade would have been unlikely to get bailed. There would have been pretrial discovery, there probably would have been a preliminary hearing since it was California, those sort of things, particularly when we're dealing with half hour old time radio programs, I tend to give some suspension of disbelief too. Everything cannot happen like in real life, you're going to need to accept some shortcuts and spend speeding things up just to kind of get on with things. There was a series, I think, back in the 90s called Murder One where they dedicated an entire TV season just to focusing on a single murder trial. Here we got around 20 minutes to resolve everything and we spent the first 10 on the actual murder and the somewhat spacious evidence against our hero. So I'll cut them some slack on speeding up the trial. What's a little less tolerable is mixing up redirect and cross examination. And then you have the fact that this attorney has a great advantage over all fictional attorneys, whether you're talking about Ben Matlock, Perry Mason or Denny Crane. None of them can be a quick tattoo artist who can apply a 30 minute temporary quick drying tattoo. That just to me stood out as the more inexplicable part of what they were doing. Though again, you do have a point that it's not quite realistic for the process to work as quick as it does, but it's necessary for dramatic purposes. Then we have a comment from WattsD12 who writes, Everyone sound as if they're trying to read a court stenographer's transcript as fast as they can. And the majority of it comes across with voices that have very little emotion. I've been listening to old time radio programs since the 70s and this is probably one of the worst I've heard. Keep up the good work. Thanks for the comment. And I would not judge the performances that harshly just because there's an issue that I think another listener pointed out where the recordings sound like they are sped up. It's not that the actors are reading them particularly fast or that they're doing a poor job with the material. Truth is, because of the sound issues, it's kind of hard to judge the performances. I loved Paulie in today's episode, but honestly, the way the recording sounds, she sounds like she's the mother of the Chipettes from the Alvin and the Chipmunk series. And that's nothing to do with the actress's performance. And so it's a bit unfortunate, I think, that the episodes are there, they're listenable and they're for the most part entertaining for what they are. And I've been following the whole old time radio detective world for past 16 years and these are the best recordings available. But if somebody were to give me really high quality recordings of this series, I would gladly redo it and replay it so that we can really enjoy all of the performances and maybe even be able to pick out some of the voices I was asked for. You know, do you think this actor was in an episode a few months back and I couldn't really say because it's a sound quality issue. Thanks so much. I do appreciate the comment. Now it is time to go ahead and thank our Patreon supporter of the Day and I want to thank Paul. Paul's been one of our patreon supporters since May 2024, currently supporting the podcast at the Psalmist level of $4 or more per month. Thanks so much for your support, Paul, and that will actually do it for today. If you're enjoying the podcast, please follow us using your favorite podcast software. And if you're enjoying the podcast on YouTube, be sure to like the video, subscribe to the channel and mark the notification bell. All those things that help YouTube channels to grow. We will be back next Tuesday with Hot Copy, but join us back here tomorrow for Broadway's My Beat where on.

[Sid Donelli]

The person of Elaine Hill the perfumes of Nicky Lashworth smelled better than on person of any other person that you see is my eulogy over my poor dead Elaine for publication.

[Matthew Slade]

Touching.

[Sid Donelli]

Change smelled to had more fragrance that has more sorrow in it. Agreed?

[Polly Smith]

Agreed.

[Matthew Slade]

There could be sorrow in it for you too, Mr. Lazlo.

[Sid Donelli]

It is already I deserve more.

[Matthew Slade]

If you don't answer questions directly without coining new words. Agreed.

[Sid Donelli]

This is your country. I am only here on good behavior. Question me, Mr. Clother, think back.

[Matthew Slade]

Did Elaine ever say anything to you, do anything that might show that she.

[Sid Donelli]

Was afraid of being killed?

[Matthew Slade]

Of being killed?

[Sid Donelli]

No, not once. Except only once but not I think of being killed of what she didn't tell me.

[Matthew Slade]

Didn't tell you what? Answer me Laszlo, before I.

[Sid Donelli]

Before you hurt me. I tell you. Last week came call from room 302 wanting Elaine to exhibit perfume personally. This 302 Elaine took quickly atomizers went and came back with atomizers but with tears in her eyes. I asked her what she told me. Nothing. Just cried and blow her nose. That's all.

[Matthew Slade]

That's all.

[Sid Donelli]

That's all Mr. Clover. The whole thing all.

[Adam Graham]

I hope you'll be with us then. In the meantime send your comments to box13greatdetectives.net Follow us on Twitter radiodetectives and check us out on Instagram instagram.com greatdetectives from Boise, Idaho, this is your host Adam Graham signing off saving for your next milestone.

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